The show simply couldn’t go on without her.
That’s true of pretty much everyone involved in the production of a show – but it’s especially true of the stage manager (SM), who’s responsible for making sure that everything runs like clockwork backstage. She’s not simply an integral element in the execution of her director’s artistic vision: she also has to juggle actors, crew and a host of details to ensure that the entire production hums along smoothly.
W!LD RICE has had the pleasure of working with veteran SM Juraidah Rahman several times over the past decade. In fact, she’s worked with us from the very beginning of her career: her first show as SM was our 2004 production of Animal Farm. More recently, she took on the challenge of calling the shots for 2012’s La Cage Aux Folles, one of the biggest musicals ever staged by a local theatre company in Singapore.
We spoke to Juraidah about how she got into the industry, what keeps her going on dark days, and stage-managing our upcoming production of The Importance Of Being Earnest.
Tell us a little about your background – how did you get into the stage management line?
I got interested in theatre after I graduated from JC. I searched the Internet for volunteer work in the local arts scene and SRT replied! My first foray into theatre was as a crew member for Oleanna (SRT, 2000). SRT gave me a few other opportunities as PA, props mistress, assistant stage manager (ASM). Along the way, I got to know more people in the theatre industry, which allowed me to meet the good folks from W!LD RICE. My first time stage-managing a production was actually with W!LD RICE, for the touring production of Animal Farm at the New Zealand International Arts Festival in 2004.
Did you know right away that this was the career for you?
I stumbled into theatre [work] while waiting for my A-level results; there was no intention to make it my career at that point. But opportunities just kept coming, and each one was like climbing [up the next rung of] a ladder. It took me four years before I finally became an SM. After I SM-ed Animal Farm, I was given the opportunity again by W!LD RICE to SM Visit Of The Tai Tai. The challenges just kept growing with each opportunity given, and subconsciously, I became hooked on theatre. My parents took a long time to accept it though… I think it was only after about six years that they accepted that this was what their daughter wants to do!
Working in the theatre industry can be a hard slog, requiring a great deal of dedication and long hours. What keeps you going at the end of another long day?
I believe it’s the passion and interest for theatre. It’s also the people who work in the theatre industry; the majority of them are real – in the sense that most of their views are honest. Sometimes their views are like a slap in your face, but it’s always for the better and not meant to harm you. It’s also about the challenges that come with it. Creativity doesn’t really know boundaries or [keep to a] timeline. Thus, most of the time, there are changes and sometimes I just think to myself, “okay, what’s the change gonna be today?”. Pre-empting and preparing for changes is part and parcel of an SM’s role; I guess I kind of enjoy the thinking process involved!
Tell us a little bit about the work of a stage manager.
In my mind, the SM plays a coordinating role within a production. Our job is to keep the production running smoothly and ensure that the director and cast are comfortable with the environment – which means dealing with logistical matters like updating everyone on their schedule for the day, or keeping the pantry, props and costumes at the ready every day. But that’s not all.
Typically, an SM sees the overall picture for the entire production. You’re kind of like an information counter where the creative and production teams go, because you see things from the creative angle when sitting in on rehearsals, and the production manager usually fills the SM in on production and technical matters. One of the main responsibilities of an SM is to ensure that all departments are updated as the director doesn’t attend all production/technical meetings, while the production team doesn’t sit in on all the rehearsals.
Sometimes, directors can get carried away with their creativity and overlook the fact that some ideas may simply be beyond the means of the production. Unless specifically asked, I usually try to refrain from giving my opinions [on the creative approach] to avoid influencing the director’s views, but I will highlight certain areas to the director if it affects technicality. For instance, I’ll speak up if the director wants a massive scene change but doesn’t allot much time to executing it.
What are some of your personal guiding principles in keeping a show running smoothly?
I try to view matters objectively and fairly, and solve rather than create problems. My main guiding principle is to be a team player – the word ‘I’ is usually non-existent in a production. I always believe that an SM is only as good as her team members, so I try to ensure that everyone – from the cast to the SM team – is comfortable and enjoying their duties. I don’t think the success of a production is measured entirely by reviews and ticket sales – it matters too if everyone involved enjoys the process.
How do you keep your cool when something goes wrong during a live show?
Think of the rest of the team members and tell yourself not to panic. The SM will have to take control and think quickly to salvage the situation. At the gala performance of W!LD RICE’s Romeo & Juliet, the lighting board hung as soon as the show started, something we only realised when the lights stayed dark after a black-out cue. The director stopped the show and technicians solved the problem while I gave instructions to everyone to stand by to start the show again from the top. I was on the edge of my seat and my heart was skipping while making the announcement over the PA system, but I forced myself to put on a calm voice as being panicky would not help the actors or the production team!
What’s the most memorable job you’ve had?
I guess it’d have to be SM-ing my first opera. It was a real challenge at the time as opera rehearsals are run slightly differently from theatre rehearsals. It was also on that production that I realised that the SM [for an opera] sometimes directs the scene change. This is not commonly practised in the local theatre industry. It was also my first time calling a show purely via musical scores. I appreciated the opportunity and it allowed me to further improve my communication skills.
Do you have any advice for students who are thinking about becoming stage managers in the future?
It is time-consuming, brain-draining, tiring and a ‘not good money’ job but for all the time you slog, it will pay off when you see or hear good reviews of the show. Passion and drive are things you’ll need to keep yourself going and sane.
Let’s talk a little about the show you’ve currently SM-ing for W!LD RICE, The Importance Of Being Earnest. You were also the SM for the acclaimed 2009 production. Does it feel a little easier this time around? What differences have you noticed – if any – about handling this production as opposed to the one from four years ago?
This time round, preparations are definitely way easier as we’ve kept all the props from before. Scheduling will be easier too as we know how long each scene will take. This is one production that I really enjoyed doing as it’s a classic told in an interesting way. I’m really looking forward to it!
